That it was a druidic device can be ascertained by its 6th century
associations with the bard Lwarch Hen. One will recall that
Melusine
was a "mermaid", half fish (or rather Water Serpent) and half woman,
and that Mer is the Egyptian Hieroglyph which, shaped like a square
spiral maze, denotes water and irrigation.

As an Elf Maiden she would have been the ritual quarry of the
Wild
Hunt and thus "a fish for the fish trap", a blood offering for the
Vere King. It appears therefore that the maze is the
Bower of the
Virgin and indeed some mazes have been named just that: Maidenbowers.
The symbol of Virgo, the M with a fish appended, denoting the virgin
vulva and womb, is pertinent here.

As the cubic stone is the Lia Fail, the emerald tablet, the
vulva of
Venus and the jewel in the crown of Lucifer, then it relates also to
the Sumerian Inanna, the Akkadian Ishtar who, like
Melusine, was
said to consume her lovers, and Hathor who, like Persephone was the
vendor of "deadly" otherworldly "food" (which, like its counterpart,
fairy food, compelled one to remain in Elphame), and whose sacred
emblem was the Ankh from whence was derived the name of the druidic
death cult, the Ankhou or Anjou, of which
Morgana, and Melusine (the
Fountain of Thirst) of the Labyrinth, were high priestesses.

The Ankh was also used by the Albigensian Cathars, thought by
scholars to be either the descendants of, or to have been influenced
by, the Persian Manicheans, the Arians and the
Bogomils, which
suggests a further reinforcement of the link between pre-Nicaean and
thus gnostic-dualist, or original Christianity and Druidism.

The Maze is associated with the root word from whence we derive the
adjective "to amaze". This itself probably has associations with the
name Mazda, the principle of light, suggesting that whatever was at
the centre of a Maze rendered enlightenment and that ecstatic
amazement, or wonder, accompanied it.

As Ormuzd, it might even be associated with the Spiral Serpent of
the vortex: The Sumaire. Some dictionaries have suggested in the
past that maze was derived from the Saxon word for a whirlpool, mase,
and although scholars later insisted that no such word existed, like
it or not, the early maze was indeed a figurative vortex;
a tornado
or whirlpool.

At the centre of the Knossos Maze there dwelt the
Minotaur, the
bull-man who destroyed all who entered his environs. From previous
notes we will recall that the bull, Jehovah, represented the
unregenerate man and his world view. Once Mithras or Mazda slew the
bull, from its veins poured forth all fertility.

The Bull’s head also represented the female organs, one will
recollect. Again a source of fertility on both levels. The Theseus
story therefore is a typical rendering of the central mystery of the
dualistic cult of Mithras which is repeated in Sleeping Beauty,
Beauty and the Beast and the tale of Holger Dansk.
Theseus learns
that 14 victims every nine years were sent to Knossos to appease the
Minotaur. This has echoes in the popular medieval story of
Melusine’s Maze.

The number 14 is, as we have seen, a strong component of the
dimensions of the Chartres Maze, which is 42 feet in diameter, being
3 X 14. The radius of the maze is 21 feet which is 3 X 7,
representing the three fallow weeks of the menstrual cycle. The week
of menstruus would be represented by the point at the centre of the
maze, which is, on certain days, illuminated red, as has been
recorded in other works.

The fourteen children, 7 virgins and 7 youths, sacrificed at Knossos
represent two 1 week periods each. Of these there are, symbolically
at least, 21 of each in the terrestrial year, which, as 7+7+7 and
2+1 (3) connects the Labryinth story once more to the
triple goddess
and Persephone. The total days of the earth year of 42 weeks add up
to 294 which, added together, gives the number 15 again, the
path of
the devil which, added again, gives six and thus the hexagram of the Labrus, the
womb and vagina of the virgin priestess.

The Seal of the Temple is 777 and the number of
Venus as Netzach on
the Kabalistic Tree of Life is also 7. The three component of the
Seal represents the three aspects of Venus, Freja, Persephone or the
Tantric Kali, which in themselves encode the three stages of the
vampire ritual, a component of an entire hidden culture that,
resting upon the universal archetypes of common humanity, forms, as
Jung would argue, the distinct tribal or racial memory (my note; of
a unique and separate sub-species), for whom alone this culture, its
icons and rituals is emotionally understandable and psychologically
relevant and accessible, as is the case for any given race.

Diana and the Moon symbolize Virgin Blood,
Venus-Aphrodite
represents divine union with the Maiden priestess (symbolized by
Iduina-Arduina-Diana) and the taking of her blood, whilst
Hel-Hecate-Kore-Kali as the last aspect of the Earth and death
represent both the death of the mundane soul and the fertility of
the super consciousness that displaces it.

Less familiar are the numerical values attributed to the earth or
terrestrial calendar however, which operates using a 42 week system
with extra days dispersed throughout the weeks of the year. In this
context, the maze therefore has a link with the horology of the
earth and in particular to the myth of Persephone.

Some authorities claim that Persephone spent half the year in the
Underworld, whilst others state that her sojourn in
Hell was for
only a third of the year. In ancient times there were only three
seasons in any event and it is likely that her Underworld semester
was therefore for one third of an earth year.

The earliest known calendar used to calculate the earth year was dug
up at Cluny in France and dates back to the Celtic bronze age. It is
therefore Druidic in origin. Persephone is dealt with elsewhere in
these notes, however it is worth noting that she is said to emerge
at the end of winter, thus representing the return of Spring and
youthful fertility to the earth. She is therefore the fertile
maiden. (fertility of the blood in the rite of Enthea, not the
fertility of bestial or vegetal congress and sexual increase).

Her association with the labyrinth as a swastika is confirmed by
Knossian coins which bear her head on one side and the fylfot maze
with an eight pointed star in the centre on the obverse. An example
may be viewed, with similar maze design variations in the British
Museum’s coin collection. Like the Norse Freja and the Aryan Kali,
Persephone is a tripartite Goddess whose three aspects themselves
have three aspects, pointing to a distinctly Scythian origin and to
the Celtic belief in the sanctity of the number Nine, gematrically
associated in the Hebrew with ’N’H’Sh; the Serpent or
Dragon.

Forbidden FruitsPersephone herself has three main aspects: Diana the Maiden,
Persephone-Venus and Kore as Hecate. The Norse equivalent,
Freja,
also has three corresponding aspects, Iduina-Freja of the Apples of
eternal youth (Gaelic: Arduina-Diana of the Nine Fires and of the
Blue Boar), Gamlod-Freja and Freja.

In turn, Freja herself is one third of the team who made up the
Witches of Macbeth, these being Freja, Frigg and
Hel. At death, the
Norse believe, the chosen hero is welcomed at Valhalla by a
Valkyrie
bearing the Drinking Horn (see below; Horn Gate) that contains the
beautifully and suggestively named "Mead of Inspiration", which in
Gaelic is the Dergflaith of Sovereignty and in Greek, the
wine of
Persephone.

It is probably worth taking a quick side-step and looking at the
iconography here. Mead is the fermented juice of Apples, (the
Graffenberg discharge of the Royal Princess), flavored by honey,
which symbolizes the polysaccharines and glucosides which are now
thought to be produced during the enzyme reaction, (at a specific
point in the menstrual cycle), that creates serotonin from
melatonin. The "honeyed sweetness" of the fluid would indicate a
high melatonin presence during the hours of the evening and nightime,
which are ruled by Ishtar or Venus-Persephone, as the
Goddess of
"Love".

At 10,000 years old, so it is claimed and probably therefore the
earliest manufactured beverage known to man, Mead, is another of the
archetypal representations of the essence of the Goddess- Priestess,
representing the flow of the priestess, sweetened by the nectar
(ambrosia or "food of the Gods") collected by
bees who are the
sacred animals of Binah, the mother of Understanding.

Nevertheless, if you cut an apple in half across the core the seed
chambers form the pentagram that appears on the brow of the
Baphomet,
symbolizing the cubic stone.

The seeds themselves contain cynanide in a such a quantity as to
make 25 grams sufficient an amount to kill a man. The apple was
chosen to represent the goddess but, as we can see and as tradition
testifies, the goddess and her Grail maidens have a symbolic down
side. Again we encounter the love that is death and the
concept of
death to one form of perception and the reawakening to another.

As Kali, Ishtar, Diana, Hecate and Hel, these Goddesses represent
the deadly potential of the sacred elven female. The essence of
the
Grail maidens and their chemically generated morphic energy can heal
much, but there is a price to pay.

One draught stimulates dormant centers in the fairy brain that, in
becoming sensitized to, and instinctively acknowledging these
chemicals, it develops a dependence on them and the subtle sweet
energy they produce, which as a pathological dynamic is much like
alcoholism, such is the intensity of the experience. Because of
this, though the maidens are indeed the Grail, they are also called
the fountain of thirst and, like La Belle Dame Sans Merci; the
Grail
Maiden, the Leanaan Sidhe can leave her victim like Keats’ palely
wandering knight who no longer sees the world in which he once
belonged but sees, and consequently inhabits, another world
altogether.

His has become a world of infinite wonders but, at her inevitable
departure, it has also become a world of unbearable longing, of
intense hunger and thirst. Like ’La Belle Dame’ these beautiful
living goddesses come as softly and as unawares as spirits, to open
the door to the rose garden and initiate their chosen prince.

Having united with him in enthea and "removed" his soul, they
inevitably depart from these "chance" encounters as softly and as
swiftly as at first they arrived. Like bees they are put on the
earth to pollinate the flower of fairy consciousness but invariably
like bees, they also suck dry the nectar of the fairy’s soul.

Bees however, are the badge of the Merovingian descendants of
King
Solomon whose Song, or at least the one attributed to him, is packed
to the gunwales with vampiric references to the gathering of the
nectar of maidens in an apiarine fashion later eulogized by
Shakespeare (Edward de Vere?), who was a descendant of
Solomon and a
veritable son of the tradition.

Bees live as equal entities in Hives under the rule of one
Sovereign
who is chosen and created from their number by the administration of
"Royal Jelly" (Dergflaith) by and from the body of the previous
Queen.

In this respect the clans of the Danaan, the Elven King Tribes of
the Western Aryans, once replicated in their social structure the
organization of the Hive. Furthermore the hexagonal construction of
the bees’ incubation chamber, their place of origin or birth, is
repeated in the hexagonal shape of the Kabalistic tree of Life (the
Planta Genista, the [family] tree of Origin) which was intended to
be identical in its shape and layout with the hexagonal web of
relationships on the diagrammatical family tree of the
Sumerian/Scythian Dragon Goddess-Queens and
God-Kings, from whom the
Fairy Danaan and the Merovingians are descended.

Bees suck the nectar from the flowers in the garden and in like
fashion the vampiric Fey kings and queens drank the nectar of the
lily and the rose from their virgin goddesses, in the maze sanctuary
of the sacred groves.

The Bee symbolizes Understanding, and in history so do
the Fey,
whose legendary power and eternal wisdom, like that of their cousin
Solomon, was phenomenal, such was the efficacy of the "Mead of
Wisdom" distilled by the elf maidens, the
Valkyries or Ladies of the
Forest. With the canny dance of the Bee forming the figure eight,
which in human terms represents infinity and is the glyph of
Isis,
we return once more to the subject of the triple goddess.

In the triad of Diana-Persephone-Kore the individuals are
represented by the Moon, the planet Venus and Earth respectively and
reflect the qualities associated with each. In Dragon terms these
aspects represent Potential (the Blood of the Moon),
Union (the enthea of Baphomet as Persephone-Venus) and
Release (the winning of
spiritual sovereignty and fertility) after reaching the centre or
Nix, the love that is death, symbolized by Persephone-Kore the
fruitful Earth, which is both womb and tomb.

Kore itself means virgin, and the image of
Kore as Hel or Hecate as
crones, is only valid on an exoteric, popular mystical level which
concerns itself with nature worship. However, the symbolism still
hidden in non revivalist witchcraft as it has come down to us today
continually points to a high magical purpose with strong connections
to the death and blood mystery cults of classical and pre-classical
times. The symbolism is often interpreted as being concerned with
venal fertility because of the rustic allegorical images which were
employed to hide the esoteric information being conveyed.

It has been forgotten that doctrines were split into three layers,
each corresponding to the needs, interests and capacity for
understanding of the intended audience or participants. In the
mystery of Diana (Iduna or Arduina) - Persephone-Kore related to Chartres we have seen that we have an example of the maze or
labyrinth as both womb and tomb. In the myth of Persephone and the
pomegranate, the Dianic Mistletoe bard of Arduina must enter Hel or
the Underworld to draw the wine of the fruit of life from her, which
in the Gaelic is called dergflaith, the red beer of the queen of
sovereignty.

Also reminiscent of this journey to the underworld is the fate of
the potential lover of the mermaid who is destined to be drawn into
her realm and certain death, but only death of the ego, it must be
remembered. According to trial transcripts the Templar’s kept a
preserved head in a silver reliquary carved with the figure of Virgoc, the Virgin-and-Icthys or Vulva-fish. This head it is said,
they called the Baphomet or head (source) of wisdom or
Father Mitras.

The Baphomet or Bafomet of the Templars according to
Fr. Eliphas
Levi was an androgyne figure which, with a bit of consonant wander
no doubt, incorporated the Mithraic element suggested in
Vatr Mitr,
which has a distinctly Aryan ring to it. Virgo relates to
Iduna and
Arduina, Diana or Artemis the virgin huntress, as well as
Mary and
Persephone.

Related to Persephone in the cult of the Elysian Plain which, like
the rose at the centre of the Chartres maze, lies at the centre of
the otherworld, is Orpheus or Bacchus-Orpheus. Bacchus was also
called Liber, which in Latin means:

a) liberty or release

b) Tree

c)
Wine

d) a book, wisdom or secret knowledge, The Hidden Torah

Orpheus in the UnderworldBacchus-Orpheus, it will be remembered, was crucified, hung on a
tree like Odin and Christ; and, with Dionysus, was a god of the
blood and death cults of the mediterranean region which correlate
with the Elysian mysteries, introduced to the inhabitants of
Greece
and Crete by the Scythian Danaan of Troy who had settled in
Carthage
and Egypt following the fall of their city. The Elysian Plain
corresponds to the Irish Tir Na n’Og. The Land, or Tree, of Youth
which itself has associations with the Ankh.

In recounting the Elysian story of Aeneas and the Trojan rout,
Virgil explains that Aeneas travelled to Italy to seek out the
Sibyl
or shamanka of Cumae, to gain knowledge of how to enter the
underworld and obtain an audience with his deceased father.

In order to enter the door of Dis and descend to Averna (cf.
Avallon), the shamaness explains, he must first bury a friend and
then pluck the Golden Bough, but warned him that although many may
enter, few except the children of the gods (my note; The elven race)
may leave again (this denotes a ritual involving fairy food). On
leaving the shamanka’s cave, the Trojan-Scythian lord buries a
fallen comrade and plucks the Mistletoe.

As in the tale of Gilgamesh, the shamanka accompanies him on the
journey and both descend into Hades where they meet
Orpheus on the
Elysian Plain and accomplish the task they set out to do, after
which Aeneas, (being the son of Assaracus by Aphrodite and the
descendant of Electra the daughter of Atlas the Titan, son of Iapetus or Japhet the Lord and father of the elven race), was
permitted to leave.

Next to the doorway to HadesVirgil locates a representation of the
labyrinth, as a map of the underworld with, as we discover as the
story unfolds, Elysium: Avallon, at its heart. As a teaching the
story of the underworld quest incorporating the mistletoe can be
found in the epic of Gilgamesh, giving a Babylonian and, no doubt,
an early Sumerian, middle eastern origin for the labyrinth concept
which, as the spiral vortex, is related to the decorative motifs
employed by the Ubaid culture of Scythia and
Carpathia, from whence
the royal Sumerian culture itself originated.

In support of such a view it is pertinent that in Scandinavia
labyrinths were sometimes referred to as "Babylons" and in the
Roman
Empire, the figure of the labyrinth formed into jewellery was worn
exclusively by the emperors, because it was considered to be solely
a royal insignia. At such a time the explicit inference would have
been to directly connect the labyrinth concept to that of Kingship
and thus, in classical memory, to the ancient Dragon cult of
Sumerian priest kings.

In the story of Theseus and the Minotaur, by the time
Theseus is
said to have turned up, the tribute to the Minotaur in youths’ and
virgins’ blood had been paid twice in 18 years. Gematrically this
gives a total of 28 victims or one lunar cycle of 28 days. The
youths’ blood represented the fallow part of the cycle.

The 18 year period represented Isis and Osiris, Keshalyi and
Locolico or Nergal and Nin-Kursag. Osiris was the Blue Faced God of
the dead who was the counterpart of the Aryan, blue faced
Shiva-Vishnu, the blue boar. Osiris’ brother Set first tried
incarcerating him and throwing him in the Nile, but Isis and her
sister Nephthys found him and revived him sufficiently to father
Horus from Isis. The symbol of St. George slaying the dragon is
derived from the Roman depiction of the slaying of the crocodile
Set-Typhon by the mounted Horus.

Secondly, (Set was not a quitter), Osiris was ripped to bits by his
fratricidal brother and his members were scattered. Again, Isis, and
Set’s wife Nephthys, went around picking up the bits but couldn’t
find his penis, symbol of his creative force or sovereignty and
another symbol for the spinal column, as emphasized by the serpent
entwined "phallus" of the Baphomet, which is topped off by an orb,
representing the brain. In consequence of this Osiris is a candidate
for identification as the first Fisher King, crippled "in the
thigh", as the proprietous euphemism puts it. Osiris’s "organ" is
represented by the figure one or I.

Isis’ figure is infinity or the number 8, which was often drawn as
the double axe-head figure found in Knossos or Cnossos, a name
derived itself from the Greek root word gno or gno, which also
renders gnome, gnomen (judgment) and
gnosis or wisdom from whence
derives (self) knowledge.

The phallus representation in exoteric Tantra suggests a symbolic
link between the rush of ejaculation and the release of energy when
the kundalini is aroused. This kundalini serpent is said to course
up the spine from the base chakra, like semen rushing up the
urethra, inundating the brain in a phenomenon described as a psychic
orgasm. An apt analogy.

The phallus symbol here refers to the spinal column that carries the
neuronal pathways of the brain and consequently its vital essences,
via the third ventricle and the nerve helix, to the
Graffenberg
gland, the womb, the urethra and the bowel where certain
corresponding essences are manufactured and find their way back up
to the brain, much in the same manner as the kundalini.

The kundalini differs however in that it is the process whereby a
rush of aggressive, sexual, electro-chemical signals are forced up
the brain stem to the base of the corticospinal tract. It is
suggested that the kundalini effect is similar to that of
stimulatory drugs like MDMA and amphetamine, and that the signals
incite the brain stem to release substances including dopamine,
noradrenaline and acetylcholine in a violent cascade reaction which
arouses the sophisticated sensory centers of the higher brain.

These are not the chemicals associated with transcendence but with
processes that reinforce the desire for and attachment to material
gratification, the very obstacles that stand between the
individual
and ’spiritual’ release.

Despite constant references in the ancient teachings to the conflict
between the different forms of body chemistry, it is often thought
by some that playing the beast with two backs is the primrose path
to the Kingdom of Heaven.

It can lead so far, inasmuch as it introduces the beginner to
altered states of perception - that is undeniable, but biologically,
one endocrinal process inevitably dominates the other and it is the
subtler process that causes transcendence, not the one driven by the
desire to achieve more intense, longer orgasms. Its fun, but its not
the real thing.

Consequently ancient Aryan, Draconian "sex magic", unlike the type
envisioned by a few modern authors and the western gurus of right
hand path Tantra and the eastern mysteries, has little to do with
penetrative sexual intercourse.

Therefore Osiris’ One or I represented, not simply the phallus, but
both the tongue and the spinal column, and the eight thus
represented Isis’ womb and vagina. Under the principle that a king
isn’t a king without a queen, Isis and Osiris are shown together as
the figure 18, or 666, the mark of the beast, or the
Knossos Axe
Head: 8 - where the I is horizontal.

Theseus, like Orpheus, must travel through a subterranean realm to
find his love and, like the mistletoe bard, at the centre of Hades
he will win the Chalice of Persephone’s pomegranate wine.
Theseus
decides to tackle the Minotaur and armed with a sword given him by
Ariadne he enters the labyrinth with a golden thread tied about his
waist.

This sword is firstly the straight edged weapon of focus and purity
of intent. The symbol is working on two different levels at the same
time here. The Golden thread relates to the Golden Fleece and also
the Grail, it is the rivulet of womb blood on the biochemical level,
whilst on the psychological level it represents the path of logic
and truth.

The golden thread is given to Theseus by Ariadne, so it is
emphatically a female symbol. Whether the Theseus version of the
story was at variance with others, or with the primeval Grail theme
itself, by suggesting that the golden thread was not already laid
out on the path, is a question that springs immediately to mind. In
Rapunzel the golden thread is her hair and the maze is substituted
by an equally daunting but related structure, a Tower.

Nine Pieces of Gold
Symbolically, Ariadne is at the centre of the maze, just as
Rapunzel
is at the top of the Tower and, as Rapunzel lets down her golden
hair to assist the knight in getting to her, Ariadne in another
sense, assists Theseus.

A tablet at Knossos describes Ariadne as the
’lady of the labyrinthe’ to whom money offerings were made. In developing this
theme, Grant (Myths of the Greeks and Romans) says that
Ariadne was
a goddess of the underworld; which relates her to both Persephone
and Melusine and, strangely enough, to St. Nicholas of Dumnonia or
Cornwall who, as a mistletoe bard and traveller to the underworld, a
horned Merlin and an Odinic priest, is said to have offered three
gold coins each to three poor virgin sisters to prevent them from
becoming prostitutes.

The three girls in relation to Santa as Theseus, it would seem, also
appear themselves to symbolize the tripartite Diana-Persephone-Kore
or her priestesses. The nine Byzantine, imperial gold coins that the
druidNicholas or Nicassius gave to the holy virgins became the nine
heraldic ’bezants on a field sable’ which variably were the arms of
his, the Emrys family, and which eventually became the arms of the
duchy of Cornwall.

The apocryphal story of St. Nicholas/Nicassius offering money to the
impecunious virgins probably relates to St. Nicholas’ family as the
Druidic, Priestly administrators and Keepers of the Sacred Grove,
its holy temple and its virgin priestesses who, like Magdalene, came
to be thought of, utterly erroneously, as prostitutes. Cassius was
the name of one of the Roman rebels but has links also with, and was
possibly a re-expanded diminutive or affectionate form of the name
Caspar, which is of Persian origin and is said to mean treasurer.

This meaning was probably derivative and like Nicholas,
Caspar,
probably a temple official, was the Syrian Magus or
Druid who was
said to have presented gold to the child Jesus. The link between
St.
Nicholas of Dumnonia and the bezants would suggest therefore that
this is the more likely secondary meaning of his name which is
itself ultimately related to Nisse or the Nix.

In a way it can be said that the golden thread in Theseus is a
rivulet or rtu of Ariadne’s essence, a
sutra that leads Theseus to
the centre of the mystery and the Grail. One might suggest that
symbolically the golden thread was spun by Ariadne from the wool of
the Golden Fleece.

This artifact is a classic variation of the grail symbol which,
guarded by a Dragon in the heart of Greater Scythia near to where
Prometheus was chained, had the same healing properties attributed
to the Holy Grail and the blood of the elven goddesses.

In relation to the theme of the Grail as a panacea and physick, is
the White Cross of St. John or the gnostic Iao (Jao), related to the
sephiroth of Tiphareth and closely linked with Isis and Persephone.

The question must be asked, "How on earth is a thread tied about
Theseus’s waist going to help him find the
Minotaur?" Quite simply
it isn’t, and yet the story doesn’t say he spent six weeks wandering
around in circles getting tangled up in wool before he found the
monster.

If the Labyrinth were a Maze, the thread would be fine for helping
him find his way out, but equally difficult without a golden thread
to guide him, would be the task of finding his way to the centre in
the first place. However, the structure at Knossos is described as a
Labyrinth and labyrinths - unlike Mazes - are single paths which
inevitably lead to their goals with no blind alleys or fake turns.
This would render Theseus’ need for an actual golden thread
redundant whilst on the psychological level the labyrinth would
cease to exist once the Minotaur had been slain, thereby rendering
the thread pointless anyway.

G.R. Levy explains that the thread (Sanskrit:
sutra as in Kama
Sutra), or rope, or ’clue’, and the winding path appear as
components of European tales of entry into an actual or subjective
spiral maze, many of which were found in medieval churchyards or
grave/grove-yards, signifying that the ancient groves were places to
meet with the dead. Furthermore the word dru (as in druid) in
Sanskrit means ’run’, as in run the race or "dance the maze".

The Llanswere special geographical locations where the
groves were
built and these were on the intersection between Dragon Lines (not ley lines) where,

a) the power was thought to be strongest and

b) the
site occupied a kind of in-between place which, like crossroads were
neither one direction or another and thus were said to be in-between
the worlds

As such they were doors to Elphame and later,
crossroads
(invariably with their gallows poles) and graveyards became the
meeting places for witches. Gallows were often placed at
cross-roads, doorways to the otherworld, in order to facilitate the
criminal’s speedy journey to Hell or Elphame - life after death - in
order that his or her ghost may be encouraged to leave the mortal
realm immediately, thus discouraging him or her in death, from
further troubling the living, as they had done in life.

Grant continues by saying that the maze relates to the life after
death and gives initiation. The author emphasizes that life after
death is more properly life before death or transcendence, being the
life of superconsciousness following the death-in-life of mundane
perception.

Such a teaching accords with the message of Jesus and most other
mystics. Grant relates the thread to the spindle of Sleeping Beauty,
making her a Fate or Mori, a goddess figure like the golden-haired
Scythian princess Ariadne. In Sleeping Beauty’s story the thread is
in the Castle which, surrounded by a thicket representing the
labyrinth, is the centre of the maze itself and thus the rose garden
and the Elysium.

Sleeping Beauty occupies a tower in the castle in the
undergrowth, or
a Caer Glas (Verrieres) in the Forez, if you like, in similar
fashion to Rapunzel elsewhere mentioned herein, who lets down her
golden hair to admit the knight to her tower chamber. In the course
of time stories change and become corrupted by various admissions
and omissions, this is the process whereby history becomes myth and
legend.

It is not so arrogant to suggest therefore that Theseus’
story
likewise appears to have undergone changes and suffered the ravages
of time. To facilitate a meaningful interpretation of these stories
therefore, it is necessary for the student to compare them together
by genre and settle for a common sequence of events and a common
objective.

For them to make any sense at all, they must relate to human
physiology and psychology and to be grounded in empiricism. If the
stories are subjected to over mystification by those who are unaware
of their inner workings or of the available esoteric knowledge or
the intention of the stories’ creators, then confusion sets in.

On the Grailor biochemical level, Theseus must follow the rivulet
to attain and drink from its source, having battled with his own
common lust in such a situation. If he does he wins Ariadne as the
Virgin Grail, intact and appropriately related to him. If he does
not and the Minotaur (Arthur’s Klingsor) within him prevails at the
source, then Theseus will defile that source for base gratification
and the Minotaur, his own sexual lust for Ariadne, will consume him.

Theseus is a wily lad however and unlike Arthur’s druidic saw, which
is an adaptation of the story of Theseus and Ariadne, his is a story
of success. Theseus attains the source of the golden-red fluid, the
heart of the labyrinth and with Galahad-like purity of heart (focus
and insight) he sees the Grail, instead of just Ariadne’s sex
organs. This act itself is enough to slay his Minotaur and he exits
the labyrinth to unite with Ariadne, the virgin source of
sovereignty.

However, now he must enter once more and face another Minotauron a
different level of being. In the story, both Minotaurs are one and
the same and are slain at the same time, but I am analyzing the
story level by level and it is in this sense that Theseusrepeats
the two-fold exercise.

Having attained and consumed Ariadne’s blood, she has become his
Sheba, his Rhiannon, his Guinevere and his
Viviane, and armed with
the sword of her sovereignty (creative energy, [non-sexual] libido),
he now enters once more to trace his path through the avenues and
back alleys of human self deceit and confront the very power source,
the very foundation of his own delusion.

This he does and in slaying his Minotauronce more, he wins
Ariadne,
the Sleeping Beauty, his Anima, and her sword of sovereignty is the
straight edged blade of his purity of mind, his focus, clarity of
vision and singularity of purpose.

Having attained Hierogamy or Enthea and individuation or personal
sovereignty, Theseus left Ariadne to
Dionysus, the bull headed child
of Zeus, the Great World-Bull of delusion. In the French versions of
Arthur’s tale, Guinevere decamped from
Camelot with Lancelot. In all
these tales, the "marriages" were not sexual in the sense that we
would understand and they weren’t built to last.

Because narrators don’t know the real reason for these alliances, a
social tendency towards post-Victorian morality interprets the
separation of the couples as betrayal and marital breakdown. In
reality the contract had come to an end with the change in blood
chemistry and the females were then ready to leave and pursue other
interests.

Axe Lords
The Minotaur has been said to be a version of the
Phoenician,
bull-headed God Baal Moloch, the son of Enlil, which might be
partially right in a ritual context where, it is thought, sacrifices
were made to the Phoenician King enacting the ritual role of the god
by wearing a bull’s head as a mask.

It is suggested that the Minotaur was Minos himself or some other
Cretan king in masquerade, fulfilling some ritual role. Said to
represent the virile principle, the bull symbol appears on other
Aryan artifacts as far away as Harappa in the Indus in 3000
BC.

If the virile principle is seen in context as the workings of
various hormones in the human physiology, it will be understood that
those hormones, which initially suppress the production of
melatonin
and serotonin which themselves play a profound part in the
attaining
of transcendent states of consciousness, are therefore also the
chemicals responsible for many human delusions and anxieties,
bringing us back to the symbol of the human mind as the World Bull
of Deceit, and to Mithras as Theseus and so on.

Theseus was the Son of Neptune, king of the waters, an otherworld
symbol, whilst Ariadne was the daughter of Minos, king of the dead,
another otherworld character. As a king of the dead or "Dead King"
Minos was ritually associated with the Repha’im, and the axe-head
carving in his labyrinth suggests that his people had some
association with the Scythian Axe Lords of Idumea
and Mittani, from
whence came the cult of the Kings of the Dead (Osiris or
Orion), the Rephaim or Angels.

The chronology is shot to bits in the original tales and the
characters are most likely to have been the lineal descendants of
the major deific personages, but removed by relationship to a
further degree than the stories allow.

Consequently, Minos was the son of Zeus (Enlil), or of
Zeus’ royal-priestly officiate or descendant and
Europa, who was the daughter of
Phoenix, whom we assume was the historical Phineas Farsaidh, the
Scythian King of Phoenicia. Minos’ brother was called Rhadamanthus
the red-haired, according to Michael Grant, so we can safely say
that this genetic strain was present also in Minos and
Ariadne, both
of whom therefore were Scythian and thus we have a strong
Scythian
component in the Labyrinth concept, both in Egypt and
Crete. Ariadne
was a form therefore of Lilith, who was the daughter of Nergal,
whose name suggests Naga’el and the Naga or
serpent gods of the
deeps who, as the Avatars or Shining Ones - the
Anunnagi - form part
of the Aryan Hindu pantheon.

The Axe Lord epithet has more to do with the Grail than with the axe
as the ’tree’ or ’man hewer’, ( in Hebrew - Nefilim) as
the Grail is
often drawn in the form of a Labrus or upended, double-headed axe.
There are similarities between Theseus and Ariadne and
Samael and
Lilith. Where Theseus is the son of the king of the sea,
Samael is
the Lord of the Waters.

Ariadne is the daughter of the King of the Dead and so is
Lilith.
Lilith eventually became the consort of Enlil-Jehovah and the
substitute matronit or Lady Sabbath. She was likened to
Sophia, the Shekinah and the Holy Spirit or Wisdom. Likewise
Ariadne left
Theseus for Dionysus, the son of Zeus.
Ariadne was therefore also a
source of divine wisdom.

In a sense Dionysus’ attainment of Ariadne from
Theseus and
Enlil-Jehovah’s Attainment of Lilith from Samael is symbolic of the
way in which divine wisdom (Lilith) was purloined by the usurper.
This has repeated itself in the claim that Rome has made over
Mary
and the Chartres Maze.

The Chartres Maze is circular and has a central path leading from
the outer circumference to the rose in the middle. On either side of
this channel are the turns of the inner paths arranged to look like
the ridges of the walls of the vagina, as depicted on the Mycenaean
Grail chalice. Again Rome has sequestered this anciently inspired
symbol and profaned it by what they consider sublimation.

Today the faithful flock to Chartres from all over the world to walk
a Maze inspired by vampirism and laid down in stone by "Satanists".
By doing this they think they will get closer to God by an "Act of
Faith", repeating the endless theme that the maze itself wished to
warn man against, that the Labyrinth can represent the dominion of
empty form over substance and that man’s mind is a vast cavern of
paths that fold back on themselves endlessly, in mankind’s attempt
to hide from man himself the central mystery of his own unjustified
misery and terror, that at the centre of his being, cloaked in
delusion and fear, lies nothing.

The folding paths of the maze are the paths of deceit and
dogma, of
ritual and habit that must, like the Gordian Knot, be rent asunder
if man is ever to glimpse the real. The habit of walking the Chartres maze merely reinforces the very stupidity that prevents man
from ever actually reaching the maze’s true, hidden centre.

That man can reach peace and "salvation" by mindlessly walking round
in a circle, just because a priest says he can, is yet another fold
of self deceit in the maze itself. Symbolically the Chartres maze is
so configured as to invite you to ignore all the folds of the
pathways and walk straight up the vaginal channel and into the
centre of the symbol. Nevertheless it is characteristic of homo religiosus that none ever does.

The Chartres mazewas not created for Roman christian ritual but for
a meditation alien to its tenets and foreign to its culture. Like
much that is of value, much that has meaning and the potential to
transform consciousness, the church has wiped away the dynamic and
replaced it with safe, empty party games that ensure that none break
free from the grip of tyranny maintained through mindless conformity
and mimicry. Such a sad parody is endemic in all religion and
religious thought, not just in christianity.

A tradition which repeats the theme of the Sacred Virgin at the
centre of the labyrinth is discovered in rural British custom where
the vampire symbolism of the original iconography became reduced to
rituals for fertility and games of sexual license.

On village common land throughout much of Merrie England it was the
custom to lay out a maze and on Sunday afternoons and at other
leisure times, the maidens of the parish would gather at the maze
and one would elect to stand at its centre. The local village lads
would then race each other round the maze to see who could win the
virgin first. The winner was awarded a barrel of beer, and the
virgin, of course.

This custom also appeared in Finland and Iceland and, as elsewhere,
echoes the original pursuit of the Wild hunt. The beer was a folksy,
rustic reminder of the wine of Persephone in a ritual involving
peasants trying to imitate the mysteries of their ancient superiors,
the meanings of which they have absolutely no idea, just like those
who adhere to christianity or modern witchcraft and occultism today
and all of which are the low versions of the quest for the Grail and Enthea, where such mindless dogma or ritual and bestial copulation
have no place.

In many mazes, thought to be the ’Core’ of a ’Llan’ (cf Avallon or
Ava-Llan) or sacred site, there were once erected pillars upon which
were situated the effigies of Doves. These sites were the
Apple
Groves where the Mistletoe Bards gathered with the sacred virgins to
conduct the secret blood rites of Arduina and sing into being both
the Gods and the noble characters of the Kings. Llan also appears as
lawn, originally meaning a clearing in a wood. Lunn means a
sacrifice and taken as a whole concept, the Llanwas a sacred
sacrificial grove.